Lace Tuckers, or What Exactly is That Thing?

When I started analyzing the portrait of Marie-Louise for my reproduction, I spotted something that I was unsure of. Around the neckline of the dress I noticed what I could only assume was a fancy chemise, so I started researching to fine out exactly what it was.

Details of the portrait of Queen Marie-Louise of Belgium. C. 1841

I wasn't able to find anything on fancy chemise's and eventually I posted my question on a sewing group on Facebook. Turns out, it's not a chemise, but an accessory called a tucker, which would be stitched straight into the dress, or in some cases be pinned into the dress instead.

A tucker would sometimes be unseen by being attached below the neckline, but in many cases they were shown. They had a drawstring around the neckline which would be tied to keep the neckline from gaping, and were often made of fine lace.

Below are some inspiration and examples of tuckers.

Portrait of Queen Victoria c. 1861. Via the Royal Collection Trust

Silk Gown C. 1865. Via

Portrait c. 1863. Via

Tucker's were most common during the mid 19th century, the 1850's and 60's particularly, due to the fashions of that time. However, tuckers can be seen throughout the 19th century and even into the early 20th century.

Making an 1841 Evening Gown | Bodice and Sleeves

Today I'm sharing the process of making the bodice of my 1841 Marie-Louise gown. I'm still in the process of making it, but I wanted to share what I have done thus far, mainly the bodice.

The pattern is self drafted, based off of a pattern from Patterns for Stage and Screen by Jean Hunnisett. To draft the pattern, I draped it on my dress form, patterned that, made a few adjustments and then went on to make one final mock-up before cutting into the actual fabric.

Speaking of fabric, the fabric I'm using is a faux silk taffeta from Bangkok Thai Silk. It looks more purple in the pictures, but it's a black-shot-red color.

I cut my pattern pieces out of both my fashion fabric and muslin and flat lined them by surging them together. Once that was done I stitched all the pieces together with a 1/2 inch seam allowance, leaving the back open.

On the dress form, before any boning was added.

The next step was to add boning. I used single fold bias tape for my boning channels, stitched directly into the seam allowance.

After I added boning to the seams, I decided that it needed more structure, so I decided to add boning into the lining pieces of the front side pieces of the bodice. I cut my bodice pattern out of another layer of muslin to create the lining.

To add the boning to the lining, I cut out 2 more pieces of the front side pieces, surged the edges, and drew my boning channels. I originally thought that I would place the pieces against the inside of the bodice, matching the seams, but I quickly realized that if I did that then the boning would be at the wrong angle.

Instead, I still used the same pieces, but I ended up stitching them at a different (crooked) angle to my lining. Since it would not be visible once the lining was finished, I decided not to bother redrawing/positioning them.

My lining, with the additional boning channels stitched.

Next I stitched the lining to the bodice with right sides together, and stitching across the top with a 1/2 inch seam allowance. I under stitched the lining before clipping the curved edges and turning it all outward.

Here's what it looked like at this point.

The next thing to do was the sleeves. These were also self drafted and based from the same book as the bodice. They were relatively simple to both draft and assemble. They consist of two pieces, the lining and the fashion fabric, which as you can see are quite different in shape and size.

Once the pieces were cut I surged them and ran a gathering stitch across the top and bottom of the fashion fabric pieces.

After that I gathered the top piece down to the measurements of the lining pieces. If I were to do this again and I would make the top piece a bit longer to give a little more volume, and I would center the gathers more towards the center instead of spreading it out mostly evenly.

Once I had the gathers pinned to the lining piece, I basted along both sides to hold the gathers to the lining. Then with right sides together, I folded it in half lengthwise and stitched with a 1/2 inch seam allowance, creating the sleeve.

After this, I attached the sleeves to the bodice by hand.

What the dress currently looks like (and also a more accurate color)

That's all for today's post. I'll have more posts soon about the bertha and eventually the skirt.

Marie Louise Gown | Progress Report

I have some progress to report on the 1841 Marie Louise gown. It's only a little so far, but it's progress none the less.

I started working on the bodice and got pretty far with it last week. I got it all stitched together, boned, and put the lining in.

Before boning...

And after boning. It makes a huge different  in how the bodice lays.

I started working on the bertha, and it came together easily and just needs to be attached to the dress now, as it's only pinned in the above picture.

The sleeves are about half done. I really like the way they look so far, but I need to add lace and finish the bottom edge of them still.

The bodice looks like it's closer to done than it really is because I only have the bertha pinned and I still need to finish the center back closure. I've been procrastinating because both of those mean a lot of hand sewing.

But I'm really happy with how it's looking so far and I'm hoping to have it done before the Christmas season is over so I can get some festive photos.

1841 Dress Inspiration | The Marie-Louise Gown

Since making my first 1840's dress over a year ago, I have been dying to make another. I'm naturally more drawn to the simpler, "every day" wear, if you will, and I'm stepping outside my comfort zone by working on something more elegant.

I came across this beautiful portrait of Queen Marie-Louise of Belgium from 1841, and I fell in love. Not only does it capture the very essence of 1840's fashion with just a hint of the 1830's in the hair, it's also red and I recently got it into my head that I want to make a red dress (for no reason in particular).

Today I'm sharing my inspiration and the beginning of my research for the gown.

Painting of Queen Marie-Louise of Belgium c. 1841

The painting itself was painted by Franz Xaver Winterhalter in 1841. Winterhalter was a well known artist of the 19th century, and painted portraits for royalty all over the world. Perhaps his most famous portrait is of Empress Sisi of Austria.

It looks to me as if the dress is made of velvet, however I've decided to make it from a faux silk I got a good deal on from Bankok Thai Silks. I would use 100% silk fabric, but unfortunately my budget isn't quite there at the moment.

The dress has the typical shape of the period with a full pleated skirt, pointed bodice, and pleated bertha with puffed sleeves. It's accessorized with a lace tucker, jewelery, and a lace shawl and headpiece.

Painting of Queen Marie-Louise of Belgium c. 1841

I'm planning on doing more of an interpretation of the gown rather than an exact replica, so I may play around with the accessories and hair a little.

As for patterns, I'm drafting everything myself using patterns from Patterns of Fashion I and Period Costume for the Stage and Screen as references. I've found a couple of patterns in each that I think will work perfectly.

I'll be posting more about this dress soon.